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It’s not often when intergenerational artists and designers converse in an exhibition format that allows visitors to interact with their work freed from museological constraints - to be able to touch and feel the exhibits as opposed to viewing them from a distance or through glass displays. Combined with our post-pandemic thirst for cultural experiences in the physical rather than the digital world, we’re delighted to welcome the Noguchi Museum’s latest exhibition, “Objects of Common Interest: Hard, Soft, and All Lit Up with Nowhere to Go”. Inspired by Japanese-American artist Isamu Noguchi’s profound connection to Greece, the exhibition brings together Noguchi’s seminal oeuvre with contemporary work by Objects of Common Interest (OoCI), an Athens and New York-based design studio that shares the acclaimed 20th century sculptor’s non-doctrinal approach to design, amalgamation of cross-cultural inspirations, and experimental ethos.

跨代艺术家和设计师以展览形式交流的情况并不常见，这种展览形式允许参观者不受博物馆限制地与他们的作品进行互动——能够触摸和感受展品，而不是从远处或通过玻璃展示观看它们。结合我们在大流行后对物理世界而不是数字世界的文化体验的渴望，我们很高兴地欢迎野口博物馆的最新展览“共同感兴趣的对象：坚硬、柔软和无处可去。去”。受日裔美国艺术家 Isamu Noguchi 与希腊的深厚渊源的启发，此次展览将 Noguchi 的开创性作品与Objects of Common Interest (OoCI)的当代作品结合在一起，一家位于雅典和纽约的设计工作室，分享这位 20世纪著名雕塑家的非教条式设计方法、跨文化灵感的融合和实验精神。

Running until February 2022, the exhibition is a collaboration between the Noguchi Museum, which the late artist established in 1985 in Queens, New York, and OoCI’s founders, Greek husband-wife designers Eleni Petaloti and Leonidas Trampoukis, whose interest in Noguchi goes back more than a decade, evolving a few years ago into an ongoing research project. With the museum’s decision to publish its extensive archive online in 2019, Petaloti and Trampoukis’ project intensified, culminating in a digital feature, Noguchi in Greece, Greece Within Noguchi — a visual collage that explores Noguchi’s relationship with the culture, materiality and atmosphere of Greece, as well as maps how their research has affected their quest for abstraction — eventually sparking the idea for the exhibition.

展览将持续至 2022 年 2 月，由已故艺术家于 1985 年在纽约皇后区成立的野口博物馆与 OoCI 的创始人希腊夫妻设计师Eleni Petaloti和Leonidas Trampoukis 合作，他们对野口的兴趣可以追溯到更多十年多，几年前演变成一个正在进行的研究项目。随着博物馆决定在 2019 年在线发布其广泛的档案，Petaloti 和 Trampoukis 的项目得到了加强，最终形成了一个数字特征，Noguchi 在希腊， Greek Within Noguchi——这是一个探索 Noguchi 与希腊文化、物质和氛围的关系的视觉拼贴画，以及他们的研究如何影响他们对抽象的追求——最终激发了展览的想法。

Installation view. "Objects of Common Interest: Hard, Soft, and All Lit Up with Nowhere to Go", Noguchi Museum, New York. Photography by Brian W. Ferry. Artworks © Objects of Common Interest and © The Isamu Noguchi Foundation and Garden Museum / Artists Rights Society

安装视图。“共同感兴趣的物体：坚硬的、柔软的，以及无处可去的全部点亮”，野口博物馆，纽约。Brian W. Ferry 摄影。艺术品 © Objects of Common Interest 和 © The Isamu Noguchi Foundation and Garden Museum / Artists Rights Society

Senior curator Dakin Hart has thoughtfully interspersed OoCI’s furniture, limited series and unique objects throughout the museum, from the ivy-covered walled garden, to the ground floor permanent installation, to the upper floor galleries which host “Useless Architecture”, a temporary exhibition exploring how Noguchi drew on architecture to deepen the civic, communal, and environmental aspect of his sculptures. Combining older and newer pieces from OoCI’s portfolio, the exhibition not only draws parallels between Noguchi and OoCI’s ideas and practice but also evocatively highlights their shared affinity for blurring the distinctions between art and design.

高级策展人Dakin Hart精心地将 OoCI 的家具、有限系列和独特的物品穿插在整个博物馆中，从常春藤覆盖的围墙花园，到一楼的永久性装置，再到举办“无用建筑”的上层画廊，这是一个探索探索的临时展览野口是如何利用建筑来深化他的雕塑的公民、公共和环境方面的。该展览结合了 OoCI 作品集中的新旧作品，不仅在 Noguchi 和 OoCI 的思想和实践之间建立了相似之处，而且令人回味地强调了他们在模糊艺术和设计之间的区别方面的共同亲和力。

As one of the twentieth century’s most acclaimed artists, Isamu Noguchi was also one of the most prolific having created, during his 80-year career, sculptures, gardens, furniture, lighting (most notably the iconic Akari lamps), ceramics, architecture and set designs such as those for acclaimed choreographer Martha Graham. Firmly uninterested in labels, Noguchi believed there was no fixed hierarchical relationship between the disciplines. Known for his abstract organic shapes, his creative practice was powered by an intuitive drive for exploring formal possibilities rather than producing a specific result, a fundamental tenet shared by Petaloti and Trampoukis. “We always assign a label, a role onto an object”, but “it is often the case that the use changes through the design process to production”, they explained to Yatzer in a previous interview. “A stool can be a side table, a sculptural piece, or an abstract snapshot from a larger installation”. Working with notions of flexibility, ambiguity, illusion or de-familiarization, OoCi’s work echoes Noguchi’s intuitive approach to design in the way he valued form over clarity and inherent usefulness over an explicit or marketable purpose.

作为 20 世纪最受赞誉的艺术家之一，野口勇也是最多产的艺术家之一，在他 80 年的职业生涯中，他创作了雕塑、花园、家具、照明（最著名的是标志性的Akari灯）、陶瓷、建筑和布景例如为著名编舞家玛莎·格雷厄姆设计的。野口对标签坚决不感兴趣，他认为学科之间没有固定的等级关系。他以其抽象的有机形状而闻名，他的创作实践是由探索形式可能性而不是产生特定结果的直觉驱动驱动的，这是 Petaloti 和 Trampoukis 共同的基本原则。“我们总是为一个对象分配一个标签、一个角色”，但“通常情况下，用途会从设计过程到生产过程中发生变化”，他们在之前的一次采访中向 Yatzer 解释道。“凳子可以是边桌、雕塑作品或大型装置的抽象快照”。OoCi 的作品结合了灵活性、模棱两可、错觉或陌生化的概念，与野口勇的直观设计方法相呼应，他重视形式而不是清晰性和内在有用性而不是明确或可销售的目的。

Noguchi’s dual heritage (his mother was American, his father Japanese) underpins another touchpoint between the late sculptor and the Greek design duo. “As Greek designers and architects living and working in New York we share - with Noguchi - the in-betweenness of two worlds” Petaloti and Trampoukis explain. Living and working between East and West, with studios in New York, Japan and Italy, Noguchi continually absorbed inspiration from a global perspective, from Brancusi’s abstraction and Surrealist biomorphism, to ancient Greek sculpture. The latter attests to a significant connection between Noguchi and Greece, his “intellectual home” as he once described it, which goes much deeper than the artist’s admiration for the country’s classical heritage and use of Penteli white marble, which he had shipped to his studio from Athens, “tapping into the transformative relationship between him, the place, and its people” in Petaloti and Trampoukis’ words.

Noguchi 的双重血统（他的母亲是美国人，父亲是日本人）是已故雕塑家和希腊设计二人组之间的另一个接触点的基础。 “作为在纽约生活和工作的希腊设计师和建筑师，我们与 Noguchi 分享了两个世界的中间性”Petaloti 和 Trampoukis 解释道。在东西方之间生活和工作，在纽约、日本和意大利设有工作室，野口勇不断从全球视角汲取灵感，从布朗库西的抽象和超现实主义生物形态到古希腊雕塑。后者证明了野口和希腊之间的重要联系，希腊是他曾经描述的“知识之家”，这比艺术家对这个国家的古典遗产和使用 Penteli 白色大理石的钦佩要深得多，他已经运到他的工作室来自雅典，用 Petaloti 和 Trampoukis 的话来说，“挖掘他、这个地方和它的人民之间的变革性关系”。

In the museum’s indoor/outdoor gallery, the primordial forms of Noguchi’s basalt sculptures are paired with the geometric simplicity of the Tube Light series, OoCI’s first light project featuring glowing curved shapes that appear to be pliant and soft. Terminating on puddle-like, mirror-polished, stainless-steel bases, OoCI’s sculptural lights seem to extend into the ground and walls. Experienced together, Noguchi’s sculptures and OoCI’s objects read as an interplay of contradictions (rough/smooth, dark/light, heavy/light, organic/artificial), and yet stand in harmony comprising an otherworldly landscape, both prehistoric and modern.

在博物馆的室内/室外画廊中，野口的玄武岩雕塑的原始形态与Tube Light系列的几何简约相结合，这是 OoCI 的第一个具有发光弯曲形状的灯光项目，看起来柔顺而柔软。OoCI 的雕塑灯以水坑状、镜面抛光的不锈钢底座为终点，似乎延伸到地面和墙壁。一起体验，Noguchi 的雕塑和 OoCI 的物品被解读为矛盾的相互作用（粗糙/光滑、黑暗/光明、沉重/光明、有机/人造），但又和谐地组成了一个史前和现代的超凡脱俗的景观。

This kind of playful choreography of seemingly contrasting yet soulfully kindred pieces runs throughout the exhibition. In the museum’s rock garden, OoCI’s acrylic-cast Offerings–Rock III and inflatable Standing Stones are nestled amongst Noguchi’s stone sculptures including Practice Rocks in Placement, an artistic-cum-landscaping installation conceived by Noguchi as an exercise in the placement of rocks. Taking the form of rocks and boulders, OoCI’s work playfully subverts their formal naturalness with their luminosity and transparency, in juxtaposition to Noguchi’s sculptures.

这种看似对比鲜明但又深情相近的作品的俏皮编舞贯穿整个展览。在博物馆的岩石花园中，OoCI 的压克力铸造产品 - Rock III和充气立石坐落在 Noguchi 的石雕中，其中包括“放置练习岩石”，这是 Noguchi 构思的艺术兼景观装置，用于放置岩石。OoCI 的作品采用岩石和巨石的形式，以明亮和透明的方式巧妙地颠覆了它们的形式自然，与野口的雕塑并列。

On the museum’s upper floor, OoCI’s Formations series are interspersed among Noguchi’s pillar and totem-like sculptures in the context of the Useless Architecture concurrent exhibition. Rendered in a vibrant cobalt blue, OoCI’s glossy, curvy-shaped objects stand out among the muted colour palette and natural textures of Noguchi’s work, but at the same time fit right in, courtesy of their ambiguity of form and purpose.

在博物馆的上层，在无用建筑同期展览的背景下，OoCI 的 Formations 系列穿插在野口的柱子和图腾式雕塑之间。OoCI 以鲜艳的钴蓝色渲染，有光泽的曲线形物体在 Noguchi 作品的柔和色调和自然纹理中脱颖而出，但同时由于其形式和用途的模糊性而恰到好处。

Finally, in the Lounge area, OoCI’s voluptuous Tube Chair, Inflatable Lights and Tube Lights echo the curvaceous forms of Noguchi’s Freeform Sofa & Ottoman and Coffee Table, which were designed for Herman Miller in the 1940s and reissued by Vitra in 2002, along with his famous Akari lamps, and granite sculptures, while the translucent forms of OoCI’s Rock Seats and Rock Side Tables converse with Noguchi’s basalt Garden Seat and galvanized steel pieces.

最后，在休息区，OoCI 的性感管椅、充气灯和管灯与 Noguchi 的Freeform Sofa & Ottoman和咖啡桌的曲线形式相呼应，它们是在 1940 年代为Herman Miller设计并于 2002 年由Vitra重新发行的，以及他的著名的Akari灯和花岗岩雕塑，而 OoCI 的岩石座椅和岩石边桌的半透明形式与野口的玄武岩花园座椅和镀锌钢件相得益彰。